Sweelinck: Organ Works

Naxos: 8550904

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Sweelinck: Organ Works



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64 minutes


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Sweelinck: Organ Works


Toccata in C

Ballo del Granduca


Malle Sijmen

Mein junges Leben hat ein End - variations

Echo Fantasia

Onder een linde groen, SwWV 325

Toccata in A minor

Erbarm dich mein, o Herre Gott

Poolsche dans

James David Christie (organ)



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Jan Pieterszoon Sweelinck: Toccata In C Major

Toccata In C Major

Jan Pieterszoon Sweelinck: Ballo del granduca, SwWV 319

Ballo del granduca

Jan Pieterszoon Sweelinck: Ricercar in Aeolian mode, SwWV 280


Jan Pieterszoon Sweelinck: Malle Sijmen (Simple Simon), SwWV 323

Malle Sijmen

Jan Pieterszoon Sweelinck: Mein junges Leben hat ein End, SwWV 324

Mein junges Legben hat ein End'

Jan Pieterszoon Sweelinck: Echo fantasia in Aeolian mode, SwWV 275

Echo Fantasia in A Minor

Jan Pieterszoon Sweelinck: Onder een linde groen (Unter der Linden grune), SwWV 325

Onder een line groen

Jan Pieterszoon Sweelinck: Toccata in A Minor

Toccata in A Minor

Jan Pieterszoon Sweelinck: Erbarm dich mein, o Herre Gott, SwWV 303

Erbarm dich mein, o Herre Gott

Jan Pieterszoon Sweelinck: Poolsche Dans

Poolsche Dans

Gramophone Classical Music Guide


“The Houghton Chapel is nowhere near as resonantly spacious as the Oude Kerk in Amsterdam, but its relative intimacy doesn't rob the organ of its natural resonance and tonal beauty. James David Christie presents what's in effect a most satisfactory re-creation of one of Sweelinck's organ recitals, given daily between 1580 and 1621, for the burghers of Amsterdam. One hopes they were appreciative of the most consistently witty and generous-spirited keyboard music before the era of Buxtehude, Couperin and Bach.
While Christie may not possess the lyricism of a Leonhardt, the humane warmth of a Piet Kee or the mercurial whimsy of a Koopman, he is, in his own right, a bold, stylish, unhasty player, clearly thoroughly versed in early performance practice, with an incisive technique disclosing musical intelligence and common sense. He's particularly successful in the five major variation sets here, relishing the variety of decorative motifs but still conveying an impression of structural coherence and unity. Just occasionally his articulation might have worked better in a somewhat larger acoustic: at times a more obviously singing touch might have suggested greater tenderness in quieter moments and more ample majesty in louder ones.
Nevertheless, with appealing registrations, an almost ideal choice of programme and undistractingly natural recording this is recommended.”

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